hooptam_1 by nuchy tow

°“√Õπÿ√—°…å¿“æ®‘µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

∫∑∑’Ë 1 ∫∑π”

Part 1 Introduction

∑’Ë¡“·≈–§«“¡ ”§—≠ ¿“æ®‘µ√°√√¡Ω“ºπ—ß‡ªìπß“π»‘≈ª°√√¡∑’Ë¡’§ÿ≥§à“ ∑’Ë∫àß∫Õ°§«“¡‡ªìπ¡“¢Õß™“µ‘·≈–™ÿ¡™π ºà“π°“√‡¢’¬π ‡ªìπ√Ÿª®“√÷°‡ªìπµ—«Õ—°…√ ”À√—∫„π¿Ÿ¡‘¿“§Õ’ “π‡√’¬° ¿“æ®‘µ√°√√¡Ω“ºπ—ß«à“ ŒŸª·µâ¡ °“√‡¢’¬π¿“æΩ“ºπ—ß ¡’ ¡ “µ—È ß ·µà ¬ÿ § °à Õ πª√–«— µ‘ » “ µ√å ¥— ß ª√“°Ø„π»‘ ≈ ª– ∂È” À√◊ Õ Àπâ “ º“ ‡¡◊Ë Õ ºà “ πæ— ≤ π“°“√‡√◊Ë Õ ¬¡“®π∂÷ ß ¬ÿ § æ√–æÿ∑∏»“ π“‡®√‘≠√ÿàß‡√◊Õß °“√·µâ¡ŒŸª®÷ß‰¥âª√“°Ø∫π ºπ— ß ‚∫ ∂å (™“«Õ’ “π‡√’ ¬ °«à “ ‘ ¡ ) »“≈“°“√‡ª√’ ¬ ≠ (ÀÕ·®°) ∑ÿß (∏ß) ‡ªìπµâπ ŒŸª·µâ¡ À√◊Õ¿“æ‡¢’¬πÕ¬Ÿà∫πºπ—ßªŸπ ∑—Èß¿“¬„π ·≈–¿“¬πÕ° ‘¡ ∫√√¬“¬‡√◊ËÕß√“«µà“ßÊ ´÷Ëß·∫àß‰¥â‡ªìπ “¡ à«π„À≠àÊ §◊Õ à«π∑’ËÀπ÷Ëß‡¢’¬π‡√◊ËÕß√“«‡°’Ë¬«°—∫ æÿ∑∏»“ π“ æ∫«à“‡√◊ËÕß∑’Ëπ‘¬¡¡“°∑’Ë ÿ¥§◊Õ‡« —π¥√™“¥° à«π∑’Ë Õß√Õß≈ß¡“§◊Õ π‘∑“π «√√≥°√√¡∑âÕß∂‘Ëπ ‡™àπ æ√–≈—°-æ√–≈“¡ ª“®‘µµå-Õ√æ‘¡ °“≈–‡°¥ ‘π‰´ à«π„À≠à ‡ªìπ‡√◊ËÕß√“«„π∫“ßµÕπ¢Õßπ‘∑“π ‡™àπ ‡√◊ËÕß ‘π‰´ µÕπ ‘π‰´‡¥‘π¥ß µÕπ ‘π‰´√∫°—∫°ÿ¡¿—≥±å ‡ªìπµâπ ‚¥¬ ®“√÷°‡ªìπÕ—°…√∏√√¡Õ’ “π·≈–Õ—°…√‰∑¬πâÕ¬ Õ∏‘∫“¬ °”°—∫Õ¬Ÿà‡ªìπ∫“ßµÕπ ¥â“π„π¢Õß ‘¡‡ªìπ∑’Ëª√–¥‘…∞“π æ√–æÿ ∑ ∏√Ÿ ª °Á ‡ ¢’ ¬ πŒŸ ª ·µâ ¡ ‰«â ∫ πºπ— ß ‡™à π ‡¥’ ¬ «°— π à « π„À≠à ‡ ªì π √Ÿ ª æ√–æÿ ∑ ∏‡®â “ æ√– “«° ‡ªì π ”§— ≠ à«π∑’Ë “¡¡’¿“æπ‘∑“π ·≈–≈«¥≈“¬¿“æ·∫∫µà“ßÊ ºπ—ß ¿“¬πÕ°¥â“πÀ≈—ß¢Õß ‘¡ à«πÀπ÷Ëß ‡¢’¬π‡ªìπ‡√◊ËÕß√“« ¢Õßπ√°¢ÿ ¡ µà “ ßÊ ·∑√°°— ∫ °“√≈–‡≈à π æ◊È π ∫â “ π ‡™à π À—«≈â“π™π°—π (°“√≈–‡≈àπÀ—«≈â“π™π°—π‡ªìπ∑’Ëπ‘¬¡‡¢’¬π ∫πºπ—ß ‘¡Õ’ “π ·µà°ÁÕ“®®–À¡“¬·∑π∂÷ß°“√∂Ÿ°≈ß∑—≥±å „ππ√°·∫∫Àπ÷Ëß°Á‰¥â) πÕ°®“°π’È¬—ß‡¢’¬π‡√◊ËÕß√“«‡°’Ë¬«°—∫ «‘ ∂’ ™’ «‘ µ ™“«∫â “ π ‰¥â · °à ß“π∫ÿ ≠ ª√–‡æ≥’ µà “ ßÊ ‡™à π ª√–‡æ≥’À¥ ß¶å (æ‘∏’‡∂√“¿‘‡…°) ∫ÿ≠º–‡À«¥ (‡« —π¥√) °“√√—°…“‚√§ °“√§â“¢“¬ ∑”¡“À“°‘π ª√‘»π“∏√√¡ ‡™àπ

Introduction Painting is a valuable communication tool that shows the background of the nation and community through pictures and writing. Painting in the Isan region is called Hoop-Tam, this type of art has existed since the pre-historical period which can be seen on cavesû walls and cliffs. Throughout time, Buddhism has been displayed through Hoop-Tam paintings which naturally, have been found on walls of Sims, temples, sermon halls and in fields. Hoop-Tam paintings are always related to 3 stories: Buddhism, Vessantara Jataka and folk tales : Phra Lak Phra Rama, Pajit-Orpim, Kalaked and Sin Zai. The tales are only taken to some parts to paint on the wall such as the folk tale of Sin Zai takes the part of Sin Zai for walks in the bush. It is described to elaborate on paintings by using Dharma alphabets, together with Thai Noi alphabets. Inside the Sims, lives a Buddha statue, which is painted in Hoop-Tam on the walls; mostly about the Lord Buddha and his disciples. In addition to this, there are paintings of tales and characters. Another side of the Simûs wall shows there are stories about hell which is placed between the paintings of recreations : çHua Lan Chon Kané or Bold heads fight-is one of the games which is currently seen on Isan temple wall paintings-it can be also be interpreted as one of the punishments experienced in hell. Furthermore, the way of life of the local villager is also shown on Hoop-Tam such as Hod Song Ceremony (one of the Buddhist ceremonies), Boon Phra Wed festival (Vessantara festival), remedy, trading and earning a living, dharma puzzles. These are divided into sections by small lines or

çÀ“∫´â“ß ´“·¡«é ‡ªìπµâπ ∑—Èßπ’È‰¥â¡’°“√®—¥·∫àßÕß§åª√–°Õ∫ ¢Õß¿“æÕÕ°‡ªìπµÕπÊ ‚¥¬™à“ß·µâ¡®–„™â‡ âπ·∂∫À√◊Õ ‘π‡∑“ ‡ªìπµ—«·∫àß‡√◊ËÕß ‚¥¬∑—Ë«‰ª·≈â«ŒŸª·µâ¡Õ’ “π¡—° ‰¡àª√“°Ø«à“¡’ ‘π‡∑“ ‘π‡∑“π’È¡’√Ÿª√à“ß‡À¡◊Õπ “¬øÑ“·≈∫ À√◊Õøíπª≈“ “¡“√∂‡ÀÁπ‰¥â„πß“π®‘µ√°√√¡Ω“ºπ—ß ¡—¬ °√ÿß»√’Õ¬ÿ∏¬“·≈–µâπ°√ÿß√—µπ‚° ‘π∑√å ¥—ßπ—Èπ ŒŸª·µâ¡ „π ¿“§Õ’ “π ®÷ß‡ªìπº≈ß“π¢Õß™“«∫â“π∑’Ë‡¢’¬π¢÷Èπ ‡¡◊ËÕ ª√–¡“≥√âÕ¬°«à“ªï∑’Ëºà“π¡“·≈–‡ªìπΩï¡◊Õ¢Õß™“«∫â“π∑’Ë ‡§¬∫«™‡√’¬π ¡’§«“¡√Ÿâ ·≈–¡’Ωï¡◊ÕæÕ ¡§«√ ¡’§ÿ≥§à“ ‡πâπ¥â“π»‘≈ª°√√¡∑’Ë°≈—ËπÕÕ°¡“®“°§«“¡®√‘ß„® §«√§à“ ·°à°“√Õπÿ√—°…å‰«â „π∞“π–‡ªìπ·À≈àß¡√¥°∑“ß«—≤π∏√√¡ ‡©æ“–∂‘ËπÕ’ “π ‘¡∑—Èß Õß·Ààß∑’Ë«—¥ªÉ“‡√‰√ ·≈–«—¥‚æ∏“√“¡π—Èπ ‡ªìπ ‘¡Õ’ “π·∫∫¥—Èß‡¥‘¡∑’Ë‡À≈◊ÕÕ¬Ÿà ´÷Ëßπ—∫«—π®–‡ ◊ËÕ¡‚∑√¡ ≈ß‰ªµ“¡°“≈‡«≈“ ·¡â«à“®–‰¥â√—∫°“√¢÷Èπ∑–‡∫’¬π®“° °√¡»‘≈ª“°√·≈â«°Áµ“¡ ·µàªí≠À“„À≠àÕ¬Ÿàµ√ß∑’Ë∑âÕß∂‘Ëπ ‰¡à “¡“√∂¥Ÿ·≈ Õπÿ√—°…å ·≈–‡ÀÁπ§ÿ≥§à“·À≈àß»‘≈ª°√√¡ ¢Õß∑âÕß∂‘Ëπµ≈Õ¥®π‰¡à‰¥â‡¢â“¡“¡’ à«π√à«¡„π°“√®—¥°“√ ¥Ÿ·≈√—°…“Õ¬à“ß·∑â®√‘ß ‚§√ß°“√π’È ®–‡ªìπ°“√®ÿ¥ª√–°“¬ „Àâ™ÿ¡™π∑âÕß∂‘ËπÀ—π¡“„Àâ§«“¡ ”§—≠·≈–‡ÀÁπ§ÿ≥§à“ß“π »‘≈ª°√√¡∑âÕß∂‘Ëπµ≈Õ¥®π°“√Õπÿ√—°…å ‡æ◊ËÕ„Àâ ‘¡°≈—∫§◊π ¡“‡ªìπ·À≈àß¡√¥°∑“ß«—≤π∏√√¡ ·≈–·À≈àß∑àÕß‡∑’Ë¬«∑’Ë ”§—≠¢Õß™ÿ¡™π ◊∫‰ª

Sin Thao (Thunder, or Zigzag lines). Normally, Sin Thao does not appear in Isan Hoop-Tam paintings. It looks like thunder or fish teeth which can be seen on Ayudhya and at the beginning of Rattanakosin dynasties. Therefore, Isan Hoop-Tam paintings were painted more than one hundred years ago. The painters were knowledgeable and ordained before they realized the importance of the ideal art that deserves to be the main sources of Isan art heritage.

Both of Sims in Wat Pa-Rerai and Wat Pho-Tharam are still some of the original Isan style Sims which are left nowadays. Even though both of them have been registered to The Fine Arts Department, they still have some problems: the community hasnût yet come to the realization in the importance of becoming involved in taking care of both monasteries. Accordingly, the conservation project encourages local people in the community to change their attitude towards Hoop-Tam and realize the significance of their local and historical art sites, so it can become the next tourist attraction heritage in the future.

Purposes ®ÿ¥ª√– ß§å 1. To conserve the local historical art sites 1. ‡æ◊ÕË Õπÿ√°— …å·À≈àß‚∫√“≥ ∂“π»‘≈ª°√√¡∑âÕß∂‘πË 2. To ensure the local community realize the full importance 2. ‡æ◊Ë Õ √â “ ß§«“¡µ√–Àπ— ° „Àâ ‡ ÀÁ π §ÿ ≥ §à “ ß“π of the moral paintings (Hoop-Tam) and other local arts. ®‘µ√°√√¡ (ŒŸª·µâ¡) ·≈–·À≈àß»‘≈ª°√√¡¢Õß∑âÕß∂‘Ëπ 3. To build the historical art sites conservation 3. ‡æ◊ËÕ √â“ß‡§√◊Õ¢à“¬°“√Õπÿ√—°…å·À≈àß»‘≈ª°√√¡ network throughout the community. ∑âÕß∂‘Ëπ Scope of study ¢Õ∫‡¢µ°“√»÷°…“ The participation process is used as one of the ‚§√ß°“√π’È„™â°√–∫«π°“√∑”ß“π·∫∫¡’ à«π√à«¡ ¢Õß™ÿ¡™π ¿“¬„µâ°‘®°√√¡¬àÕ¬∑’Ë™ÿ¡™πµâÕß°“√ ∑’Ë‡°’Ë¬«¢âÕß methods to encourage the locals to work together; making

°—∫°“√ √â“ß§«“¡µ√–Àπ—°√Ÿâ∂÷ß§ÿ≥§à“·À≈àß»‘≈ª°√√¡·≈– ¿“æ®‘µ√°√√¡Ω“ºπ—ßÀ√◊Õ∑’Ë§πÕ’ “π‡√’¬°«à“ ŒŸª·µâ¡ ´÷Ëß¬—ß ‰¡à∂Ÿ°∑”≈“¬‰ª Õ’°∑—Èß‡æ◊ËÕ„Àâ‡ªìπ·À≈àß°“√Õπÿ√—°…å¡√¥° ∑“ß«—≤π∏√√¡¥â“π»‘≈ª°√√¡∑âÕß∂‘Ëπ·≈–°“√∑àÕß‡∑’Ë¬« ‰ªæ√âÕ¡Ê °—π §◊Õ ‘¡«—¥‚æ∏“√“¡ ∫â“π¥ß∫—ß ·≈– ‘¡ «—¥ªÉ“‡√‰√ ∫â“πÀπÕßæÕ° µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥ ¡À“ “√§“¡

the community a significant part of the project. Workshops and activities will be under the communityûs help to ensure the full value of the historical sites and Hoop-Tam Paintings that are not ruined. Furthermore, historical sites should also be conservative towards the sources of art and tourist attractions: Sims in Wat Pho Tharam, Ban Dong Bang and Wat Pa-Rerai, Ban Nong Phok, Maha Sarakham Province.

°≈ÿà¡‡ªÑ“À¡“¬ ™ÿ¡™π∫â“π¥ß∫—ß ·≈–∫â“πÀπÕßæÕ° µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥¡À“ “√§“¡ ‰¥â·°à °≈ÿà¡Àπ—ßª–‚¡∑—¬ °≈ÿ¡à ®à“¬º≠“- √¿—≠≠– °≈ÿ¡à ∑Õºâ“‰À¡ °≈ÿ¡à ºŸπâ ” °≈ÿ¡à ‡¥Á° ·≈–‡¬“«™π °≈ÿà¡æ√– ß¶å °≈ÿà¡‚√ß‡√’¬π °≈ÿà¡ ¡“™‘° Õß§å°“√∫√‘À“√ à«πµ”∫≈¥ß∫—ß ·≈–ºŸâ∑’Ë‡°’Ë¬«¢âÕßÕ◊ËπÊ

Target Groups The communities in the Dong Bang and Nong Phok, in Na Dun District, Maha Sarakhma Province : Phaya and Soraphanya singing Group, Silk Weaving Group, Leader Group, Children and Youth Group, Monk Group, School Group, Dong Bang Sub-District Administration Organization and others.

ª√–‚¬™πå∑’Ë®–‰¥â√—∫ 1. °“√¡’ à«π√à«¡¢Õß™ÿ¡™ππ”‰ª Ÿà°√–∫«π°“√ ∑”ß“π√à«¡°—πÕ¬à“ß¡’ª√– ‘∑∏‘¿“æ 2. ™ÿ¡™π¡’§«“¡µ√–Àπ—°·≈–„Àâ§«“¡ ”§—≠µàÕ ·À≈àß¡√¥°»‘≈ª°√√¡∑âÕß∂‘Ëπ ‡æ◊ËÕ√—°…“ ◊∫∑Õ¥ Õπÿ√—°…å ¡√¥°∑âÕß∂‘Ëππ’È ◊∫‰ª ‚¥¬ºà“π°√–∫«π°“√∑”ß“π√à«¡°—π 3. ™ÿ ¡ ™π‰¥â ‡ °‘ ¥ ”π÷ ° ∑â Õ ß∂‘Ë π ·≈–¥Ÿ · ≈ ¡∫— µ‘ “∏“√≥–Õ—π‡ªìπ∑ÿπ∑“ß —ß§¡‰«â‰¥â 4. °à Õ „Àâ ‡ °‘ ¥ ™ÿ ¡ ™πµ— « Õ¬à “ ß¥â “ πÕπÿ √— ° …å · À≈à ß »‘≈ª°√√¡∑âÕß∂‘Ëπ ‚¥¬∑’Ë™ÿ¡™π “¡“√∂√—°…“·≈– ◊∫∑Õ¥ ‰«â„Àâ≈Ÿ°À≈“π ◊∫‰ª 5. ‡°‘¥‡§√◊Õ¢à“¬°“√Õπÿ√°— …å·À≈àß»‘≈ª°√√¡∑âÕß∂‘πË ‡™◊ËÕ¡‚¬ß°—∫∑âÕß∂‘Ëπ„°≈â‡§’¬ß 6. ‡°‘¥°√–∫«π°“√ √â“ß™ÿ¡™π„Àâ‡¢â¡·¢Áß ¿“¬„µâ ∑ÿπ∑“ß —ß§¡∑’Ë¡’Õ¬Ÿà·≈â«§◊Õ·À≈àß»‘≈ª°√√¡∑âÕß∂‘Ëπ 7. ‡°‘¥°√–∫«π°“√¡’ «à π√à«¡¢Õß∑ÿ°°≈ÿ¡à „π™ÿ¡™π ‚¥¬‡©æ“–‡¥Á°·≈–‡¬“«™π∑’Ë®–‡ªìπºŸâ ◊∫∑Õ¥·π«∑“ß°“√ Õπÿ√—°…å·À≈àß‚∫√“≥ ∂“π¢Õß∑âÕß∂‘Ëπ ◊∫‰ª

The Project Benefits 1. Community will follow the participation process to work more efficiently together. 2. The Community should be more aware of the mentioned issues to realize the importance of maintaining and conserving the historical art sites in order to conserve them by using the participation process 3. Community will be encouraged to see a local value. 4. The local art site conservation groups will be a good example in maintaining the local heritages that may be carried from generation to generation. 5. The Community has a connected network in historical art sites with nearby communities. 6. The Community will be strongly united because with the pride which is obtained by their local heritages. 7. Everyone in community will be part of the conservation especially, the children and youth.

π‘¬“¡»—æ∑å‡©æ“– °√–∫«π°“√¡’ à«π√à«¡ À¡“¬∂÷ß ‡§√◊ËÕß¡◊Õ∑’Ë„™â‡æ◊ËÕ °“√ √â“ß°√–∫«π°“√¡’ à«π√à«¡¢Õß™ÿ¡™π ‰¥â·°à °“√Õ∫√¡ „Àâ§«“¡√Ÿâ °“√∑”ß“π√à«¡°—π °“√‡≈◊Õ° °“√µ—¥ ‘π„® °“√ ª√–‡¡‘π °“√ √â“ßª√– ∫°“√≥å√à«¡°—π¢Õß™ÿ¡™π ´÷Ëßºà“π °“√°≈—Ëπ°√Õß®“°™ÿ¡™π ŒŸª·µâ¡ ‡ªìπ§”¿“…“Õ’ “π À¡“¬∂÷ß ¿“æ®‘µ√°√√¡ ∑’Ë«“¥∫πΩ“ºπ—ß‚∫ ∂åÀ√◊Õ ‘¡ ∑—Èß¥â“π„π·≈–¥â“ππÕ° ‚¥¬ Ωï¡◊Õ™à“ß™“«∫â“π ∫Õ°‡≈à“‡√◊ËÕß√“«∑“ßæÿ∑∏»“ π“ §µ‘∏√√¡ §” Õπ §«“¡‡™◊ËÕ ·≈–«‘∂’™’«‘µ §«“¡‡ªìπÕ¬Ÿà¢Õß™ÿ¡™π ‘¡ ‡ªìπ§”¿“…“Õ’ “π À¡“¬∂÷ß ‚∫ ∂å∑’Ëµ—ÈßÕ¬Ÿà„π ∫√‘‡«≥«—¥ ‡ªìπ∑’Ëª√–¥‘…∞“πæ√–ª√–∏“π‡æ◊ËÕ„™âª√–°Õ∫ °‘®¢Õß ß¶å„π«—π ”§—≠Ê ‰¥â·°à °“√≈ßÕÿ‚∫ ∂∑ÿ°«—πæ√– °“√∫«™ ·≈–æ‘∏’°√√¡∑“ß»“ π“∫“ßÕ¬à“ß ‡ªìπµâπ ∫“ß·Ààß ®–‡¢’¬π¿“æ®‘µ√°√√¡Ω“ºπ—ß‰«â∑—Èß¥â“π„π·≈–¥â“ππÕ° ™ÿ¡™π À¡“¬∂÷ß ™ÿ¡™πµ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥¡À“ “√§“¡

Definition of Terms Participation process means a tool which is used for building methods of uniting through trainings, working together, choosing and decision making, evalution and workshops.

ºŸâ√—∫º‘¥™Õ∫‚§√ß°“√ ∑’Ëª√÷°…“‚§√ß°“√ 1. √».ª√– ß§å ‡Õ’Ë¬¡Õπ—πµå 2. √».¥√. “¬—πµå ‰æ√™“≠®‘µ√å 3. Õ.‰æ‚√®πå ‚¡ √ ∑’¡«‘®—¬ 1. √».∏’√™—¬ ∫ÿ≠¡“∏√√¡ À—«Àπâ“‚§√ß°“√œ 2. π“¬æ‘…≥ÿ ‡¢Á¡æ‘≈“ ºŸâÕ”π«¬°“√ ”π—°»‘≈ª–·≈–«—≤π∏√√¡ 3. º».°ƒ…Æ“ »√’∏√√¡“ √ÕßºŸâÕ”π«¬°“√ ”π—°»‘≈ª–·≈–«—≤π∏√√¡ 4. π“¬Õπÿ™‘µ ‚√®π™’«‘π ÿ¿√ √ÕßºŸâÕ”π«¬°“√ ”π—°»‘≈ª–·≈–«—≤π∏√√¡ 5. π“ß “«πÿ™®√’ ∑â“«‰∑¬™π– √ÕßºŸâÕ”π«¬°“√ ”π—°»‘≈ª–·≈–«—≤π∏√√¡ °√√¡°“√·≈–‡≈¢“πÿ°“√‚§√ß°“√œ

Responsibility on the Project Advisors 1. Associate Professor Prasong Eiamanan 2. Associate Professor Dr.Sayan Prichanchit 3. Lecturer Piroth Samosorn Researchers 1. Associae Professor Theerachai Boonmatham Head of Project 2. Mr.Pisanu Khempila Director of The Office of Arts and Culture (RMU) 3. Assistant Professor Krisada Sridharmma Deputy Director of The Office of Arts and Culture (RMU) 4. Mr.Anuchit Rojanashewinsuphon Deputy Director of The Office of Arts and Culture (RMU) 5. Miss Nucharee Taothaichana Deputy Director of The Office of Arts and Culture (RMU) and Secretaryûs Project

Hoop-Tam (Isan word) means the mural paintings about Buddhism, belief and way of life on templesû and inner and outer walls which are made by local artisans. Sim (Isan word) means the ubosot is located inside the temple that has a big Buddha statue in order to encourage Buddhism ceremonies: morning and evening prayers, ordain and Buddhist rituals. Mural Paintings can be seen on the inner and outer wall. Community means Dong Bang Sub-District, Na Dun District, Maha Sarakham Province.

ºŸâ™à«¬«‘®—¬¿“§ π“¡ 1. π“¬æ≈«‘∑¬å ‚¬∑—¬‡∑’Ë¬ß 2. π“ß “«∏‘¥“√—µπå ªØ‘‡«™«—≤π“ß°Ÿ√

Assistant Researchers 1. Mr.Pholwit Yothai thiang 2. Miss Thidarath Patiweswata-ngangkul